Saturday, June 05, 2021


Herriman Saturday: February 7 1910


February 7 1910 -- Herriman offers vignettes from Sam Langford's training camp on the day before his big fight against Fireman Jim Flynn.


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Friday, June 04, 2021


Toppers: Progress of Flight


The aviation strip Tailspin Tommy would eventually be responsible for quite a few toppers, but in the early years it could only manage a single panel, titled Progress of Flight (not counting the comic stamp feature, which we here at Stripper's Guide don't deem worthy of tracking). 

Tailspin Tommy was one of a long list of strips that owed its existence to Charles Lindbergh's historic flight, and despite lackluster art it was consistently one of the most popular of the genre through the 1930s. I think much of that initial success must be due to the slam-bang writing of Glenn Chaffin, which though a bit wordy, really gave flying-mad kids a strong dose of high-flying medicine. Artist Hal Forrest, on the other hand, who semed much more comfortable with doing art for humour strips, always seemed to produce terribly rushed looking work until he evidently found a good assistant in the mid-1930s.

According to a contemporary article in Editor & Publisher, the Tailspin Tommy Sunday page was added for a release date of October 6 1929. However, I've never been able to find a sample of that first page earlier than October 20. Bell Syndicate muddied the waters by allowing papers to run their strips late, making such determinations a bit of a crapshoot. Progress of Flight, a panel offering factoids about early models of airplane and famous aviators, was added with Sunday page #28; counting from October 6 1929, that would put the start date on April 13 1930, but it's not been seen appearing earlier than April 27 1930. Yes, dealing with Bell Syndicate strips can be a trying task. 

Progress of Flight started it's timeline as early as you could, discussing early mythological stories of flying. The feature slowly gamboled through the Renaissance, the Montgolfier brothers, and finally to modern aviation. Early panels were numbered, but that practice eventually stopped. The feature ended with Sunday page #220, after which the top spot went to a new strip, The Four Aces

Calculating from the supposed start date, that would put Progress of Flight ending on December 17 1933, but once again, I've not seen that occurring any earlier than the Sunday page run on December 31 1933, which seems frankly like a more auspicious date on which to usher out the old and welcome in the new. It is also the last Sunday written by Glenn Chaffin; artist Hal Forrest would be credited from then on.

If anyone can offer any direct evidence that the Tailspin Tommy Sunday began on October 6 1929 in any paper, I'd be thrilled to hear from you. 

UPDATE PRIOR TO PUBLICATION: I looked at a sampling of Tailspin Tommy Sunday original art at the Heritage auction site, and I think I have the final answer. On most of the originals there is a pencil notation written outside the art area giving the strip number and publication date. The same hand seems to be responsible for other presswork notations, so I don't believe the dates were added later. In each case, the date combined with the number calculates back to a date for Sunday page #1 of October 20 1929. I'm calling this mystery solved, and saying that was the official release date; the article in Editor & Publisher had it wrong.


Good for you Allan-you're a regular Sniffen Snoop.
Tailspin Tommy rated two serials and a run of Monogram programmers. I've seen the serials, which are both available on DVD. "Tailspin Tommy" was released in 1934 by Universal, and it may be the only serial where the hero lives with his parents and the heroine is a waitress (who has a pilot's license, but still). Tommy gets a job with a modest air freight firm up against an unscrupulous rival, but that is sometimes forgotten as the action wanders all over (a sojourn in Hollywood has him stunt flying for a WWI epic). It's a bit folksier than the usual cliffhanger. The following year brought "Tailspin Tommy and the Great Air Mystery", a more generic product with heroes and villains constantly invading and escaping from each other's camps.

Other comic strips that got serials: Dick Tracy, Flash Gordon, Buck Rogers, Tim Tyler's Luck, Red Ryder, Mandrake the Magician, The Phantom, Radio Patrol, Red Barry, Terry and the Pirates, Secret Agent X-9, Brick Bradford, Brenda Starr, Jungle Jim, and Don Winslow of the Navy. Off the top of my head.
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Wednesday, June 02, 2021


Ink-Slinger Profiles by Alex Jay: Sid Couchey

Sidney Hubert “Sid” Couchey was born on May 24, 1919, in Cleveland, Ohio, according to his World War II draft card. His parents were Lester Hubert Couchey and Elizabeth Lasher who married on September 1, 1909 in Broadalbin, New York, as recorded at the New York State, Marriage Index ( By 1914 the Coucheys had moved from Pittsfield, Massachusetts to Cleveland, Ohio, as noted in the 1914 Pittsfield city directory.

The 1920 U.S. Federal Census recorded Couchey, his parents and two older brothers in Lakewood, a suburb of Cleveland, at 1556 Cohassett Avenue. Couchey’s father was an electrical engineer at a carbon company. The Press-Republican (Plattsburgh, New York), August 6, 1984, profiled Couchey and said

Couchey was born in Cleveland. As a child there, he dreamed of being a cartoonist. He would layout the Sunday funny papers on the floor and study them for hours.

“That’s how I first got interested in cartooning,” Couchey said.

At some point the family moved.

The 1929 Saginaw, Michigan city directory listed Couchey’s father, a salesman, at 740 Hoyt Avenue. The same address was in the 1930 census. After 1932 the family moved again.
The North Countryman (Rouses Point, New York), February 23, 1978, profiled Couchey and said

… Sid was born in Cleveland, Ohio on May 24, 1920 [sic], the son of Lester Couchey and Elizabeth Lasher Couchey. His mother came from Broadalbin. She and her sister studied music at the New England Conservatory in Boston. Sid’s father’s family are North Country people; Lester was born on the Bert Walker farm in Whallonsburg. He was a salesman who had the entire country as his territory. As a boy, he had been a lab assistant to Charles Steinmetz, the electrical wizard of Schenectady. In his later years, Sid’s father, a trouble shooter for Union Carbide, and the family moved around a bit.

Sid went to school in Ohio, Michigan, and Illinois, in his sophomore year, the family moved back here and he graduated from the Essex High School. He went to work for a short time in Schenectady before being inducted into the army, where he served for four years. …

The Press-Republican, December 12, 1987, said
… he graduated from Essex High School, one of a class of five. “I once mentioned to my wife, Ruth, that I had been valedictorian. She was impressed until we moved to Essex and she learned how small the class was,” he said.
In the 1940 census Couchey and his parents were residents of Essex, New York, on their farm where Couchey worked.

On October 10, 1940, Couchey signed his World War II draft card. He was described as five feet nine inches, 150 pounds, with blue eyes and brown hair. Couchey enlisted in the Army on February 11, 1942 at Camp Upton Yaphank, New York.

The Essex County Republican (Keesville, New York), January 17, 1947, said “Sid Couchey, a student in the Art Career school in New York city, has had the honor of being made president of his class. He is also on the governing board of the Artisan’s club. This club is not only a social club but also has an extensive lecture program.”

The North Countryman said

… When he was discharged, he went to New York City to study art at the Art Career School in the old Flatiron Building, and to the School for Visual Arts. He had always wanted to be a cartoonist, and after three and a half years of study he found his first job, working for the well-known cartoonist, John Lehti, on the comic strips, “Tommy of the Big Top” and “Tales from the Great Book”. Lehti had had several young men working for him before this, none of whom stayed long, but Sid stayed for almost nine years. It was a successful partnership. Sid worked on other comics too: Flash Gordon, Lassie, and “Space Cadet.” …
… For awhile, Sid worked for Jerry Siegel and Joe Shuster who invented and owned Superman. They were looking around for a cartoonist to help them. Shuster had started to go blind then. Sid applied and was chosen out of 125 applicants. … the trio experimented with other characters, none of whom reached success. They split up and Sid went free-lance.

Manhattan, New York City directories from 1953 to 1959, listed Couchey at 237 9th Avenue.

The Essex County Republican, September 11, 1959, reported “Miss Ruth Hornd [sic] of Long Island has been a guest of the Lester Couchey home. She is the fiancé of Sidney Couchey of New York. The wedding is planned for late fall.” Couchey married Ruth Horne on November 14, 1959 in Orangetown, New York, according to the New York state marriage index. The Press-Republican, September 18, 1991, described Couchey’s proposal, “It was during the first years with Harvey that Couchey met and married Ruth. ‘I proposed to her in one of the Little Lotta stories,’ he chuckled, pulling out the comic book from his collection to show the episode.”

Who’s Who of American Comic Books 1928–1999 said Couchey worked on Marvel Comics romance books during the 1950s. In the late 1950s, he drew for Harvey Comics.

The North Countryman said

… The firm of Harvey Comics owned the three characters with whom Sid became best-known: Richie Rich, Little Lotta and Little Dot. He invented the secondary characters for their stories and did the story line. At first he was under editorial supervision but the editors soon realized Sid could operate on his own. This was the release Sid was waiting for. He and his family “hotfooted it up here” in his words. They were able finally to live where they most wanted to, and Sid could do his work from a distance.
According to the Press-Republican, Couchey moved to Essex in 1961.

The Press-Republican, March 13, 2012 said Couchey created a mascot for the 1980 Winter Olympics in Lake Placid. Other sources say Don Moss created the official mascot.

In the 1980s, Couchey contribute art to the nostalgia-themed magazine Good Old Days.

Couchey’s animation project was described in the Press-Republican, December 12, 1987.

For the past three years Couchey has been working on a cartoon character for Vermont’s Department of Human Services. “Rascal Raccoon” was chosen by school children from three characters that Couchey submitted. The story line involves the dangers of alcohol abuse, and the targeted audience is the early grades, kindergarten and up.

“I had never done animation before. It was a tremendous undertaking. For a spot 30 seconds in length, I had to make 400 drawings. But once I got the hang of it, it went well. You created the background, then draw the action on acetate overlays. I’d draw the outline on the top, and color it in on the other side.” However, it nearly drove Ruth crazy. “There were sheets of acetate hung out to dry all over the house,” Couchey remembered.

Rascal Raccoon was a howling success. The spots were aired on local television, posters hung in the schools, and the teachers had lesson plans. “It was a one-two-three punch,” Couchey said. A survey revealed that after the first two spots aired, 95 per cent of the students knew who Rascal was and remembered his message; and 65 per cent had discussed Rascal with their parents. …

Couchey passed away on March 11, 2012, in Inman, South Carolina, according to the Press-Republican, March 13, 2012. He was laid to rest at Saint Philip Neri Catholic Cemetery.


Further Reading and Viewing
Comic Strip of the Day
Essex on Lake Champlain
Go Upstate
Mike Lynch Cartoons
News and Views by Chris Barat
Seven Days
The Sun

—Alex Jay


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Tuesday, June 01, 2021


Ink-Slinger Profiles by Alex Jay: John Lehti

John Armas Lehti, Jr. was born in Brooklyn, New York on July 20, 1912, according to the New York, New York, Birth Index (at, his World War II draft card, his marriage license, and Social Security application. It must be noted that incorrect birth days are at the Department of Veterans Affairs, 29, and the Social Security Death Index, 27. According to his daughter, Sandra Lehti-Culjak, her father was of Finnish descent. A family tree at said the surname was originally Lehtinen.

On November 24, 1909 Lehti’s father married Christine Wilhelmine Clayton in Brooklyn. They have not yet been found in the 1910 U.S. Federal Census.

The Daily Standard Union (Brooklyn, New York), May 30, 1913, published a death notice for Lehti’s father.

Lehti,—John A., beloved husband of Christine W. (nee Clayton), on May 28, 1913, at Montreal, Canada. Recently of Washington, D. C, formerly of Bay Ridge. Services will be held at 453 Eighty-first st. on Saturday evening, May 31, 1913, at 8 P. M. Interment at the convenience of family.
The Jamestown Post-Journal (New York), March 20, 1954, said Lehti’s father was an architect and art fancier. Editor & Publisher, March 20, 1954, said Lehti “is the grandson of Johann Gustave Lehtinen, chapel designer in Finland and later founder of one of the first Finnish language newspapers in the United States”

In the 1915 New York State Census, Lehti lived with his mother, and maternal grandfather, William Clayton, the head of the household, in Bay Ridge, Brooklyn at 453 81st Street.

In the 1920 federal census, Lehti remained in Brooklyn at 453 81st Street, his address for the next twenty years. His mother was a bank clerk, his father was born in Finland, and his grandfather worked for the bridge department.

In the 1930 census, Lehti’s maternal grandmother, Henrietta, was the head of the household. The Brooklyn Eagle, February, 5, 1946, said he graduated from Manual Training School in 1931. The World Encyclopedia of Comics (1976) said

…[he] studied at some of the finest art schools in the nation: the Art Students League (under George Bridgman, Frank Dumond, and Nicholaides), the National Academy, the Beaux Arts Institute, and Grand Central Art School under Harvey Dunn, probably the greatest influence on his art and approach to work.
About his early career, the Evening News (Newburgh, New York), October 26, 1972, said
Lehti started in the 30s as an illustrator and writer of westerns and detective stories. In 1936, he started in the new field of comic books. Among the many ‘union suit’ heroes of that era, his famous Crimson Avenger has long since become a collector’s item.
Lehti’s occupation was artist in the 1940 census. Lehti’s address was the same when he signed his World War II draft card on October 16, 1940. He was described as five feet seven inches, 145 pounds, with blue eyes and brown hair. Two months later, December 19, his new address, 230 Central Park South, was written on his draft card. The change of address was due to his December 9 marriage to Pauline Rosalie Lowell in Manhattan.

Commercial artist Lehti enlisted in the army on April 7, 1941.

Comics: Between the Panels (1998) said

Jack Lehti, as he was known in the early days, jumped from the pulps to National Comics such as “Steve Conrad,” “O’Malley of the Red Coat Patrol,” and “Crimson Avenger.” Lehti was in the Army reserves when the bombs fell on Pearl Harbor; he quickly told DCs Whit Ellsworth to hire his inker, Charles Paris, then headed to Europe. “Jack Lehti was a dogface,” Paris said. “He told me one time that he jumped into a foxhole in France and there was a copy of Detective Comics, with the Crimson Avenger. It gave him a funny damn feeling. Here he is lying out in the middle of nowhere, he might as well be on another planet with shells falling around and dead people and mud and dirt…and there’s a copy of a DC comic book.
In the European Theater Lehti served with the 750th Tank Battalion, 104th Division, which was known as the Timberwolves. WorthPoint has a description of Lehti’s map of the Timberwolves’s activities. The Brooklyn Eagle said
When war came he joined the 104th Infantry and served in “Terry Allen’s Timberwolves.” He became a sergeant. He won the Bronze Star, the Purple Heart and four campaign ribbons. When the war in Europe ended he was shaking hands with Russian soldiers 70 miles southwest of Berlin. Mr. Lehti illustrated a book published by his outfit.
Lehti lived at 183 Montague Street in Brooklyn when he become art director of Picture News in January 1946. A 1946 issue of Editor & Publisher described the origin and contents of Picture News.
Picture News … made its debut in January and is the size of regular comic books. Its publisher and editor ([Emile] Gauvreau is “executive editor”) is Leigh Danenberg, publisher of the Bridgeport (Conn.) Sunday Herald.

Danenberg conceived the idea of presenting news in comic strip technique, with sketches and balloons, and about six months ago he persuaded Gauvreau to join him in introducing the idea.

They assembled a staff that includes John Armas Lehti as art director, Henry J. Cordes and John Milligan, artists; Jane Brower Wyckoff, editorial research assistant, and Judson Lahaye, Jr., promotion manager.

The first issue of Picture News, which is printed at at Bridgeport by the Lafayette Color Press and sells for 10 cents per copy, featured a story on the atom bomb, containing George Bernard Shaw’s observations on the subject; reviewed Henry Wallace's “Sixty Million Jobs” and had personality features on Barbara Hutton and Hoagy Carmichael, among others. … Books, plays and movies will be reviewed regularly in Picture News. … and other regular features will be “Laughs by Milt Gross” and beauty hints and advice.

Increasing the book’s new coverage, Colonel Bob Allen, who with Drew Pearson established the “Washington Merry-Go-Round,” will supply the artists with regular Washington news to illustrate. ...
The Evening News said “Following World War II, he became a magazine editor, an advertising artist and finally a syndicated cartoonist, with a daily strip on the life in the circus, ‘Tommy of the Big Top.’ ” Tommy of the Big Top, was syndicated by King Features, from October 28, 1946 to 1950. According to the Wilton Bulletin (Connecticut), November 11, 1970, Ray Burns’ “…first strip job was doing lettering and background for John Lehti’s ‘Tommy of the Big Top’ comic…”

Lehti’s second marriage was to Genevieve Ellen Tighe. They obtained a license on April 20, 1948 in Manhattan. The 1949 Manhattan city directory listed Lehti at 270 West End Avenue. The Jamestown Post-Journal said

His marriage to Jean Tighe, radio and TV singer who has appeared on the Kate Smith Show, the Carnation Hour, and starred on Mutual Broadcasting System’s “Jazz Nocturne”. The Lehtis live in Syosset, Long Island. They have a ten-year-old daughter, Sandra.
Ghosting for Dan Barry, Lehti drew the daily Tarzan from November 22, 1948 to February 5, 1949. Alberto Becattini said Lehti assisted on Secret Agent X-9, Captain Yank, and Terry and the Pirates. Lehti also scripted Buck Rogers in the early 1960s.

After Tommy, Lehti returned to comic books until Publishers Syndicate bought his Tales from the Great Book, which ran from March 21, 1954 to 1972. The genesis of the Great Book was told in Sunday Herald Magazine (Bridgeport Connecticut), February 19, 1956.

The coloring of the Tales From The Great Book, November 22, 1959, was criticized in the Afro-American (Baltimore, Maryland), December 5, 1959.

Following the Great Book was Facts About the Bible, which continues today. 

Some of Lehti’s comic book credits are here.

According to Who’s Who in American Comic Books 1928–1999, did animation for Trans-Lux from 1962 to 1970. The Evening News said he storyboarded the TV cartoon series, Mighty Hercules, and “...he also created and supervised the entire production of an animated cartoon film, series, based on his Sunday newspaper feature, ‘Tales from the Great Book.’ ” A photo of Lehti was published in the Evening News, November 3, 1972.

Lehti’s mother passed away August 21, 1968. She was a resident of Durlandville, New York.

Lehti passed away January 5, 1991, according to the Social Security Death Index. At the time he was a resident of Goshen, New York.

Further Reading and Viewing
Field Guide to Wild American Pulp Artists
Getty Images

—Alex Jay


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Monday, May 31, 2021


Tales from the Great Book

By the 1920s, comic strips were apparently a mature enough bit of newspaper content that they could be trusted to offer serious content. This was when the story strips really got going, and factual and educational strips began to be offered and become popular with readers. 

One of the last realms to be conquered was religion, but biblical stories in comic strip form began being offered in this decade, too, though not with any notable popularity. The idea with these strips seemed to be to ingratiate the newspaper with religious folks, or at least to enliven their Saturday church pages. Quite a few were tried, and some lasted many years, but none exactly set the newspaper world on fire.

No religious strip made any real dent in the syndication world until 1954, when John Lehti convinced Publishers Syndicate that his version of a bible strip would sell big. What was different about it? Well, a combination of ideas coalesced to make Tales from the Great Book a hit. First, it was a very colourful and well-drawn Sunday, not a weekly black and white strip as many had been before. Second, while scrupulously researched, Lehti picked his stories for their ability to translate into exciting graphic narratives. Third, he kept his stories short, rarely more than eight or so episodes, so that the stories moved along and didn't get bogged down in lots of speeches and philosophizing. Fourth, he told stories that weren't the endlessly repeated stuff like Adam and Eve, Noah's Ark, and so on; readers were presented with stories that many of them didn't already know. Finally, Lehti stuck to the Old Testament so that both Christians and Jews would feel comfortable with the material. 

Here is the article announcing the new strip in Editor & Publisher, March 20, 1954:

Tales From The Bible For Sunday, In Color

By Mather Wallis

 A Sunday release from Publishers Syndicate dealing with great biblical stories is due to make its initial appearance March 21. To be done for color comics sections by John Lehti, ‘Tales from the Great Book” will deal with episodes from such stories as Samson, Joshua and the Walls of Jericho, and Daniel. Plans call for them to appear in that order. Mr. Lehti said titles beyond that re somewhat tentative.

The creator of this feature, who lives with his wife and daughter in Syosset, N. Y., did “Tommy of the Big Top” from 1946 to 1950. A member of the 104th Infantry Division during the war, and wounded in action, Mr. Lehti said he has had the idea for this work in mind for about six years.

 “I’m really keyed up about this,” he said. “I’ve got a lot of biblical and archeological research under my belt, and I’m having a lot of fun doing it. The reason I wanted to do it is not just for the story value, and these stories are the basis for all literature, but to show the feelings of people and how they did things in those days — how they cooked, what they wore, what kinds of door hinges they had on their houses.”

 Prior to service in World War II Mr. Lehti did. as he put, “a little of everything, but mostly advertising art.” For this new feature he said he has been doing “a lot of heavy research for the past six years.

 Born in 1912, Mr. Lehti studied at the Beaux Arts Institute, the Art Students League and the National Academy of Design. Some of his New York sketches have appeared at the Modern Museum of Art. His wife is Jean Tighe, radio and television singer, and he is the grandson of Johann Gustave Lehtinen, chapel designer in Finland and later founder of one of the first Finnish language newspapers in the United States.

 The style of ‘Tales from the Great Book” is clean but immensely detailed with great attention being devoted to dress, artifacts and the tools of war.

 ~ ~ ~ ~ ~ ~ ~ 


Above, sample strips from the first 1954 story and the final 1972 story

Lehti's strip was practically an instant success. It ran from March 21 1954 and ended April 16 1972. During that time Lehti's art style changed a bit, but never for the worse. It was consistently one of the most attractive strips in the comics section. He is known to have had at least one assistant, Sid Couchey. 

It is unknown why Tales from the Great Book was cancelled in 1972, but Lehti still saw a clientele for it. He reworked the old material and came up with a new feature he titled Facts About the Bible; the new feature was black and white and was marketed mainly to smaller papers. According to Lehti's daughter, he prepared ten years worth of weekly material, and it was known to have been still in circulation in reprints until quite recently. 

Here is a complete list of the stories serialized in Tales from the Great Book. Though several titles were reused, as far as I can tell the only story that was actually re-run was Nebuchadnezzar's Second Dream, in 1961 and '71. Apparently the end of syndication came unexpectedly, because a new story (Joshua And The Promised Land) was announced to follow Zechariah a Young Prophet.

Saga Of Samson



Joshua Marches on Jericho



Young Daniel's Faith



King Saul and the Witches of  Endor



Joash the Boy King



The Tower of  Babel



The Unselfish Love of Ruth



The Little Captive Maid



Moses and Miriam



Young David



Jonah and the  Whale



Deborah's  Triumph



Samuel and the Voice



The Shepherd's First Christmas



Samson and the Philistines



Jesus' Temptation in the Wilderness



Joseph's Loyalty



Joshua's Double Battle



Solomon and the Queen of Sheba



Abraham's Obedience



Daniel and the Wizards



Cain and Abel



David and Goliath






Noah's Ark



Samson and the Gates of Gaza



Ruth and Boaz



Solomon Asks for Wisdom



Moses the Egyptian Prince



Elisha Saves Two Boys From Slavery



Shadrach, Meshach and Abednego



Jacob Wrestles with an Angel



Joshua Battles the Five Kings



Esther-How She Became a Queen



David and his Harp



Samson and Delilah



Joseph's Brotherly Love



Daniel in the Lion's Den



Solomon and the Two Mothers



Moses the Egyptian Prince (different version)



David and Saul






The Sword of Gideon



Moses' Flight From Egypt



Jonah's Lesson



Joshua's Victory



Elijah and the Priests of Baal



Nebuchadnezzar's Second Dream



David's Fighting Courage



Moses in Midian



Daniel and the Handwriting on the Wall



Jacob's  Toil



Elijah and the Angel



Moses and the Burning Bush



The King and the Arrows



David Outlawed by Saul



Joshua and the Giants



Gehazi's Wrongdoing



Moses' Return to Egypt



David an Outlaw



The Blind Prophet









David and his Army of Outlaws



Othniel's Triumph



The Evil Sons of Eli



Moses and the Plagues of Egypt



The Evil King



David and his Army of Outlaws (2nd version)



Elijah's Mantle



Moses and the Red Sea



Samuel and Saul



Evil Haman



David and Saul



Nehemiah and the Wall



Abraham's Battle with the Five Kings



The Shunammite's Son



Moses In The Wilderness



David and his Outlaw Army (3rd version)



A Bride for Isaac



Isaiah's Promise



Moses in the Wilderness



David Among the Philistines



Abram in Egypt



Death of a King



Signs of a Prophet



Moses' First Battle in the Wilderness



Nebuchadnezzar's Second Dream (reprint)



Amos the Shepherd Turned Prophet



The Greedy Servant



Moses and Jethro



David Becomes King



Zechariah a Young Prophet




Is this the same guy who used to draw the Crimson Avenger and other such characters for DC Comics before the war?
Hello Allan-
This was a strip I remember well from my childhood, it was a staple of the Philadelphia Inquirer's ROTOCOMICS section, which meant it, and everything else in it, was seen in it's ideal printing, with those rich, lush colors.

Whoswhoz,this is the same Lehti. He also did a lot of work for Dell/Western, such as the "Tom Corbett" series. According to Lambiek he worked on DC's "Losers" and "Sgt Rock" in the mid-70s but that was news to me.
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Sunday, May 30, 2021


Wish You Were Here, from August Hutaf


Here's another from August Hutaf's series on apples, published by A.B. Woodward Co. in 1907.


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